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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900
An in-depth and nuanced look at the complex relationship between two dynamic fields of study.
While today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a skeptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970.
Exploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It examines the roles of a range of figures, including the art historian–anthropologist Aby Warburg, the modernist artist Tarsila do Amaral, the curator-impresario Leo Frobenius, and museum directors such as Alfred Barr and René d’Harnoncourt. Entering the current debates on decolonizing the past, this collection of essays prompts reflection on future relations between these two fields.
From the author of the bestselling phenomenon The Hare with Amber
Eyes As you may have guessed by now, I am not in your house by
accident. I know your street rather well. The Camondos lived just a
few doors away from Edmund de Waal's forebears. Like de Waal's
family, they were part of belle epoque high society. They were also
targets of anti-Semitism. Count Moise de Camondo created a
spectacular house filled with art for his son to inherit. Over a
century later, de Waal explores the lavish rooms and detailed
archives and, in a haunting series of letters addressed to Camondo,
he tells us what happened next. 'Illuminating... A wonderful
tribute to a family and to an idea' Guardian 'Letters to Camondo
immerses you in another age... Dazzling' Financial Times
Celebrate the holidays with Christmas Carolers Square Boxed 1000
Piece Puzzle from Galison. Piece together to reveal a classic scene
of friends and family charoling in the snow by Louise Cunningham. -
Assembled puzzle size: 20 x 27'' - Box: 8 x 8 x 2.5'' - Contains
informational insert about artist and image
ONE OF THE TIMES AND SUNDAY TIMES' BEST BOOKS FOR 2022 'Eye-opening
and full of surprises . . . A treasure' Sunday Times 'A biography
as rich with colourful characters as any novel' Telegraph John
Constable, the revolutionary nineteenth-century painter of the
landscapes and skies of southern England, is Britain's best-loved
but perhaps least understood artist. His paintings reflect visions
of landscape that shocked and perplexed his contemporaries:
attentive to detail, spontaneous in gesture, brave in their use of
colour. What we learn from his landscapes is that Constable had
sharp local knowledge of Suffolk, a clarity of expression of the
skyscapes above Hampstead, an understanding of the human tides in
London and Brighton, and a rare ability in his late paintings of
Salisbury Cathedral to transform silent suppressed passion into
paint. Yet Constable was also an active and energetic
correspondent. His letters and diaries - there are over one
thousand letters from and to him - reveal a man of passion, opinion
and discord, while his character and personality is concealed
behind the high shimmering colour of his paintings. They reveal too
the lives and circumstances of his brothers and his sisters, his
cousins and his aunts, who serve to define the social and economic
landscape against which he can be most clearly seen. These
multifaceted reflections draw a sharp picture of the person, as
well as the painter. James Hamilton's biography reveals a complex,
troubled man, and explodes previous mythologies about this timeless
artist, and establishes him in his proper context as a giant of
European art.
Literature on domestic interior decoration first emerged as a
popular genre in Britain during the 1870s and 1880s, as
middle-class readers sought decorating advice from books, household
manuals, women's magazines, and professional journals. This
intriguing book examines that literature and shows how it was
influenced by the widespread liberalism of the middle class. Judith
Neiswander explains that during these years liberal
values-individuality, cosmopolitanism, scientific rationalism, the
progressive role of the elite, and the emancipation of
women-informed advice about the desirable appearance of the home.
In the period preceding the First World War, these values changed
dramatically: advice on decoration became more nationalistic in
tone and a new goal was set for the interior-"to raise the British
child by the British hearth." Neiswander traces this evolving
discourse within the context of current writing on interior
decoration, writing that is much more detached from social and
political issues of the day. Published for the Paul Mellon Centre
for Studies in British Art
Living with the Royal Academy: Artistic Ideals and Experiences in
England, 1768-1848 offers a range of case studies which consider
individual artists' personal, professional and artistic
relationships with the Royal Academy during the late eighteenth and
early nineteenth centuries, bringing together the research of
leading historians of British artistic culture during this period.
Over its introduction and nine essays, this collection considers
the Academy as a lived organism whose most effective role,
following its establishment in 1768, was as a reference point
towards, around and against which artists operated in their
relationships with each other and with artistic practice itself. In
so doing, this collection also considers the relationship between
Academic ideals and individual practice (as well as lived
experience) during this period of art's increasingly public
manifestation at the Academy. Individual artists examined include
Joshua Reynolds, Joseph Wright of Derby, Benjamin West and William
Etty. Thinking beyond the dichotomy of loyalism and rebellion - and
complicating notions of the Academy as a monolithic ossifying
institution from which progressive artists would be 'liberated' in
the wake of the Pre-Raphaelite Brotherhood's emergence in 1848 -
this volume investigates the Academy's varied impact upon the
lives, experiences and ideals of its diverse artistic communities.
Victorian churches were often of high quality, reflecting in
physical terms the intense theological debates of the time. This
highly-illustrated book by a leading authority describes many of
the finest examples. Many churches were built in England during the
reign of Queen Victoria: most were in various varieties of Gothic
Revival. Often exquisitely furnished, they were visible expressions
of the presence and importance of religion at the time. Their
architectural qualities reflected aspirations of clergy, laity, and
individual benefactors. The finest were the results of passionate
commitment to an architecture soundly based on scholarly studies
known as Ecclesiology. James Stevens Curl places English churches
of the period in their complex social and denominational settings,
giving comprehensive accounts of the religious atmosphere and
controversies of the times. He charts the progress and development
of the Gothic Revival, explains differences in the architecture of
various denominations, outlines the influences of the chief
protagonists involved, and describes the demands made on craftsmen
and industry to produce the materials, furnishings, and fittings
necessary in making some of the finest buildings ever created in
England. He reveals something of the individuals and events that
shaped the religious climate of the epoch, while specially
commissioned illustrations reveal the rich variety found in
Victorian churches.
35 meditative knitting patterns that use colour, repetition and
texture to help you unwind and destress. The relaxing rhythm and
hand movements of knitting make it the perfect activity to absorb
your attention and distract you from unwanted thoughts. As well as
being beautiful makes, these 35 projects are specially designed to
be a form of mindfulness practice. Suitable for beginners through
to experienced knitters, the patterns will help you stitch away
stress by incorporating calming repetition and different textures,
as well as mood-boosting bright colours and soothing pastel shades.
Many of the projects make ideal gifts, bringing you satisfaction
and positivity as you knit them for other people. There are also
homewares including a mandala pillow and a meditation garland so
that you can create an inspiring environment, as well as cosy
accessories and garments to allow you to focus on yourself. All of
the techniques and stitches you will need are explained with
easy-to-follow instructions and step-by-step artworks. Let the
click of the needles and the rhythm of the stitches help you to be
in the moment, bringing you calmness and a sense of wellbeing.
India in Art in Ireland is the first book to address how the
relationship between these two ends of the British Empire played
out in the visual arts. It demonstrates that Irish ambivalence
about British imperialism in India complicates the assumption that
colonialism precluded identifying with an exotic other. Examining a
wide range of media, including manuscript illuminations, paintings,
prints, architecture, stained glass, and photography, its authors
demonstrate the complex nature of empire in India, compare these
empires to British imperialism in Ireland, and explore the
contemporary relationship between what are now two independent
countries through a consideration of works of art in Irish
collections, supplemented by a consideration of Irish architecture
and of contemporary Irish visual culture. The collection features
essays on Rajput and Mughal miniatures, on a portrait of an Indian
woman by the Irish painter Thomas Hickey, on the gate lodge to the
Dromana estate in County Waterford, and a consideration of the
intellectual context of Harry Clarke's Eve of St. Agnes window.
This book should appeal not only to those seeking to learn more
about some of Ireland's most cherished works of art, but to all
those curious about the complex interplay between empire,
anti-colonialism, and the visual arts.
In serveying how painting and sculpture were considered through the early 18th to the mid-19th century, this volume traces the development of modernism in art and theory.
The 'beauties' - women of note - who were welcomed to the National
Portrait Gallery's early collection were those whose lives and
portraits were recognized as significant to the 'civil,
ecclesiastical and literary history of the nation'. This brief was
interpreted to include figures as diverse as the devout Lady
Margaret Beaufort, and the entertaining Lady Emma Hamilton.
History's Beauties, the first detailed study of this collection,
maps a culture of femininity that reframes the Victorian
fascination with women's domestic and sentimental presence by
locating it within a Parliament-centred 'national' culture.
Including an essay on the Gallery's Trustees, the book traces the
translation of their governors' culture to a public institution
through discussions of three themes in the National Portrait
Gallery's collection of women's portraits: portraits of the Royal
family and the cult of legitimacy in antiquities and in national
identity; the educated woman as model of domestic and national
cultivation; and finally the role of female beauty in defining
social and artistic power in nineteenth-century Britain. The first
monograph study of gender in a major museum, History's Beauties
engages themes of gender, national identity, class cultures, and
aesthetics in Victorian England to interpret the National Portrait
Gallery's fascinating collection.
The Ashmolean collection of miniatures was begun in the 17th
century by the Tradescants, father and son, gardeners to Charles I
and Henrietta Maria. Among its most generous benefactors was the
Reverend Bentinck Hawkins, chaplain to the Dukes of Cambridge and
an insatiable 19th-century collector. The miniatures, mostly of
very high quality, range from the Tudor and Stuart era to Victorian
times, and include specially distinguished works by Isaac Oliver,
Cooper, Zincke, Smart, Cosway and Engleheart.
Flower painter Pierre-Joseph Redoute (1759-1840) devoted himself
exclusively to capturing the diversity of flowering plants in
watercolor paintings which were then published as copper
engravings, with careful botanical descriptions. The darling of
wealthy Parisian patrons including Napoleon's wife Josephine, he
was dubbed "the Raphael of flowers," and is regarded to this day as
a master of botanical illustration. This collection brings our
best-selling XL-sized edition to a smaller, more convenient format,
still gathering some of the finest color engravings from Redoute's
illustrations of Roses, Lilies, and Choix des plus belles fleurs et
quelques branches des plus beaux fruits (Selection of the Most
Beautiful Blooms and Branches with the Finest Fruits). Offering a
vibrant overview of Redoute's admixture of accuracy and beauty, it
is also a privileged glimpse into the magnificent gardens and
greenhouses of a bygone Paris. About the series TASCHEN is 40!
Since we started our work as cultural archaeologists in 1980,
TASCHEN has become synonymous with accessible publishing, helping
bookworms around the world curate their own library of art,
anthropology, and aphrodisia at an unbeatable price. Today we
celebrate 40 years of incredible books by staying true to our
company credo. The 40 series presents new editions of some of the
stars of our program-now more compact, friendly in price, and still
realized with the same commitment to impeccable production.
'To critics who said that the full-lipped so-called 'Beardsley
mouth', which adorned many of his women, was 'inexpressive and
ugly', the artist countered, 'Well, let them criticise. It's my
mouth and not theirs. I like big mouths. People like the little
mouth - the "Dolly Varden" mouth, if that describes it better. A
big mouth is the sign of character and strength. Look at Ellen
Terry with her great, strong mouth. In fact, I haven't any patience
with small-mouthed people.' 'The popular idea of a picture is
something told in oil or writ in water to be hung on a room's wall
or in a picture gallery to perplex an artless public.' 'To my mind,
there is nothing so depressing as a Gothic cathedral. I hate to
have the sun shut out by the saints.' 'What a nice ample creature
George Sand is: like a wonderful old cow with all her calves.' And
other witty, urbane insights on life, art, and culture, illustrated
with selected drawings from his Grotesques series.
Toward the end of his monumental career as a painter, sculptor, and
lithographer, an elderly, sickly Matisse was unable to stand and
use a paintbrush for long. In this late phase of his life-he was
almost 80 years of age-he developed the technique of "carving into
color," creating bright, bold paper cut-outs. Though dismissed by
some contemporary critics as the folly of a senile old man, these
gouaches decoupees (gouache cut-outs) in fact represented a
revolution in modern art, a whole new medium that reimagined the
age-old conflict between color and line. This edition of the first
volume of our original award-winning XXL book provides a thorough
historical context to Matisse's cut-outs, tracing their roots to
his 1930 trip to Tahiti and continuing through to his final years
in Nice. It includes many photos of Matisse, as well as some rare
images by Henri Cartier-Bresson and the filmmaker F. W. Murnau,
with texts by Matisse, publisher E. Teriade, the poets Louis
Aragon, Henri Michaux, and Pierre Reverdy, and Matisse's son-in-law
Georges Duthuit. In their deceptive simplicity, the cut-outs
achieved both a sculptural quality and an early minimalist
abstraction, which would profoundly influence generations of
artists to come. Exuberant, multi-hued, and often grand in scale,
these works are true pillars of 20th-century art, and as bold and
innovative to behold today as they were in Matisse's lifetime.
About the series TASCHEN is 40! Since we started our work as
cultural archaeologists in 1980, TASCHEN has become synonymous with
accessible publishing, helping bookworms around the world curate
their own library of art, anthropology, and aphrodisia at an
unbeatable price. Today we celebrate 40 years of incredible books
by staying true to our company credo. The 40 series presents new
editions of some of the stars of our program-now more compact,
friendly in price, and still realized with the same commitment to
impeccable production.
In an era when ease of travel is greater than ever, it is also easy
to overlook the degree to which voyages of the body - and mind -
have generated an outpouring of artistry and creativity throughout
the ages. Exploration of new lands and sensations is a fundamental
human experience. This volume in turn provides a stimulating and
adventurous exploration of the theme of travel from an
art-historical perspective. Topical regions are covered ranging
from the Grand Tour and colonialism to the travels of Hadrian in
ancient times and Georgia O'Keeffe's journey to the Andes; from
Vasari's Neoplatonic voyages to photographing nineteenth-century
Japan. The scholars assembled consider both imaginary travel, as
well as factual or embellished documentation of voyages. The essays
are far-reaching spatially and temporally, but all relate to how
art has documented the theme of travel in varying media across time
and as illustrated and described by writers, artists, and
illustrators. The scope of this volume is far-reaching both
chronologically and conceptually, thereby appropriately documenting
the universality of the theme to human experience.
A vibrant, colourful and beautiful book that introduces readers to
Impressionism and Post-Impressionism. It explains the difference
between the two movements and the main artists associated with
each. Illustrations are drawn from the renowned and outstanding
collection of French art held by the National Galleries of Scotland
and they include a number of rarely seen works. This book tells the
fascinating stories of how key paintings and drawings found their
way into the collection. Artists include Monet, Millet, Gauguin,
Bastien-Lepage, Charles Jacque, Troyon, Corot, Degas, Seurat, Van
Gogh, Cezanne, Vuillard, Bonnard, Derain, Matisse, Legros and
Rodin.
John James Audubon's The Birds of America stands as an unparalleled
achievement in American art, a huge book that puts nature
dramatically on the page. With that work, Audubon became one of the
most adulated artists of his time, and America's first celebrity
scientist. In this fresh approach to Audubon's art and science,
Gregory Nobles shows us that Audubon's greatest creation was
himself. A self-made man incessantly striving to secure his place
in American society, Audubon made himself into a skilled painter, a
successful entrepreneur, and a prolific writer, whose words went
well beyond birds and scientific description. He sought status with
the "gentlemen of science" on both sides of the Atlantic, but he
also embraced the ornithology of ordinary people. In pursuit of
popular acclaim in art and science, Audubon crafted an expressive,
audacious, and decidedly masculine identity as the "American
Woodsman," a larger-than-life symbol of the new nation, a role he
perfected in his quest for transatlantic fame. Audubon didn't just
live his life; he performed it. In exploring that performance,
Nobles pays special attention to Audubon's stories, some of
which-the murky circumstances of his birth, a Kentucky hunting trip
with Daniel Boone, an armed encounter with a runaway slave-Audubon
embellished with evasions and outright lies. Nobles argues that we
cannot take all of Audubon's stories literally, but we must take
them seriously. By doing so, we come to terms with the central
irony of Audubon's true nature: the man who took so much time and
trouble to depict birds so accurately left us a bold but deceptive
picture of himself.
Introducing the concept of music and painting as 'rival sisters'
during the nineteenth century, this interdisciplinary collection
explores the productive exchange-from rivalry to inspiration to
collaboration-between the two media in the age of Romanticism and
Modernism. The volume traces the relationship between art and
music, from the opposing claims for superiority of the early
nineteenth century, to the emergence of the concept of synesthesia
around 1900. This collection puts forward a more complex history of
the relationship between art and music than has been described in
earlier works, including an intermixing of models and distinctions
between approaches to them. Individual essays from art history,
musicology, and literature examine the growing influence of art
upon music, and vice versa, in the works of Berlioz, Courbet,
Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites,
among other artists.
Drawing on recent theoretical developments in gender and men's
studies, Pre-Raphaelite Masculinities shows how the ideas and
models of masculinity were constructed in the work of artists and
writers associated with the Pre-Raphaelite movement. Paying
particular attention to the representation of non-normative or
alternative masculinities, the contributors take up the multiple
versions of masculinity in Dante Gabriel Rossetti's paintings and
poetry, masculine violence in William Morris's late romances,
nineteenth-century masculinity and the medical narrative in Ford
Madox Brown's Cromwell on His Farm, accusations of 'perversion'
directed at Edward Burne-Jones's work, performative masculinity and
William Bell Scott's frescoes, the representations of masculinity
in Pre-Raphaelite illustration, aspects of male chastity in poetry
and art, TannhAuser as a model for Victorian manhood, and
masculinity and British imperialism in Holman Hunt's The Light of
the World. Taken together, these essays demonstrate the
far-reaching effects of the plurality of masculinities that pervade
the art and literature of the Pre-Raphaelite Brotherhood.
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